David and Goliath (Volterra)

The David and Goliath or David killing Goliath of Daniele da Volterra, are a table with double face oil on Ardoise, preserved at the Château of Fontainebleau.

It is an exceptional work: it represents the same scene, David about to complete Goliath, on the two faces of the same slate plate.

History of the table

The table is painted towards 1555 by Volterra, according to a drawing of Michel-Angel, Master, friend and guard of Volterra. It is a work of order. Besides it produces a clay model to prepare the table. Its realization falls under an artistic debate, which opposed the respective merits of painting and the sculpture (debate that Michel-Angel judged vain besides): although in two dimensions, the fact of being with double face makes it possible the table to compete with a sculpture. Moreover, Volterra chose a slate of big size and very plane for support, perhaps precisely by challenge. This slate was split when it started to paint it, and repaired by two tenons, hardly visible: perhaps this choice is explained, at the same time by the will to paint on a stone, and by the exceptional quality of the stone (and the difficulty of finding the higher).

Work has success quickly, but its author is forgotten. The table belongs successively to Giovanni della Casa (silent partner), in Annibal Rucellai, Mgr Montalto and Mgr Giudice. One century and half after being painted, it is offered to Louis XIV on July 31st, 1715 as being of Michel-Angel. It is currently in restoration with the Musée of Louvre, after being sprinkled of rain following the rupture of a picture window at the time of a storm.

Analyzes

The table represents a very known scene: David has just touched Goliath with the face, with a launched stone of his sling. The giant is with ground, and David seized sound sword (a scimitar) to complete it.

Painting is exceptional, because there does not exist other example, at the same time of painting on such a large slate, and of painting representing the same scene seen of back and face. It is at the same time a sculpture and a painting: by the support, the preparation (clay model), but also by the treatment: volumes are treated by tons hot, contrast with the background sinks emphasizes them in a way even stronger.

The two scenes are in light shift: imbalance increases (the empty share of the table in particular), Goliath is more with ground, the expression of David changes: the setting with dead approaches.

See too

Recto
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Sources

Note of the base Mona Lisa
Muriel Edelstein, the Enigma of the second table , CNRS, 2007

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